Chord Distribution Analysis
| Chord Symbol | Count | Frequency |
|---|---|---|
| Fm7 | 3 | 15.0% |
| Bb7sus | 2 | 10.0% |
| Ebmaj7 | 2 | 10.0% |
| Db7 | 2 | 10.0% |
| Abmaj7 | 2 | 10.0% |
| Gm7 | 2 | 10.0% |
| Cm7 | 2 | 10.0% |
| C7 | 1 | 5.0% |
Key Patterns Detected
| Pattern | Function | Frequency |
|---|---|---|
| Fm7 -> Bb7sus | Setup (Major Key) | 2 |
| Bb7sus -> Ebmaj7 | Resolution (Major) | 2 |
| C7 -> Fm7 | Resolution (Minor) | 1 |
- The primary ii-V-I progression (Fm7-Bb7sus-Ebmaj7) grounds the harmony in Eb major, frequently enriched by the bVII7 chord (Db7).
- The bVII7 (Db7) is often employed in unexpected ways, such as leading to C7 (V7/ii) rather than directly to Ebmaj7, adding a distinct modal flavor.
- Tritone substitution is evident with A7#11 resolving to Abmaj7, functioning as a reharmonization of V7/IV (Eb7).
- Chromatic dominant movements like E7-F7 introduce passing harmonic tension, creating sophisticated temporary tonal shifts.
Improvisation Focus: Navigating altered dominant scales and their corresponding resolutions.
Difficulty Rating: 4 (Advanced Intermediate). The frequent use of non-diatonic dominants, tritone substitutions, and unexpected resolutions requires a sophisticated harmonic ear and scale knowledge.